Bass Lessons

[skej21]

[quote name='oldslapper' post='943815' date='Sep 2 2010, 07:18 PM']For me, the best is both. Study to broaden your vocabulary and understanding, but go listen to the locals talk.
Study, listen and PLAY.

Sorry about that, probably all clap trap,..........please ignore.

John[/quote]

+ 1

Miles Davis was a HUGE Debussy fan and spent hours every day studying his compositions and the way he used modes to mould harmonic and melodic functions within music.

This knowledge was then combined with the countless hours of experience that Davis had, and an entirely new Jazz form was born (Modal Jazz.)

You always hear the phrase "thinking outside the box" and in order to do this, you need to know the box, so you can think outside.

You also need to be able to ACTUALLY carry out your ideas once you've thought outside the box.

Find a balance between experience and a musical understanding and you will be a well balanced musician IMO.

[Pete Academy]

[quote name='oldslapper' post='943815' date='Sep 2 2010, 07:18 PM']I like that Wooten quote Pete.
If you liken playing the bass (or music generally) as a speaking a language then:

Brain fart ensues:-

- there are some who learn a language by spending time in another country and they pick up the lingo by listening and spending time with the locals and can mimic, they often absorb the "emotion" of the language too, but often they can't explain the theory or the grammar behind the language. But they speak, and are understood and listen and understand.
However, this can be a little restrictive in that their vocabulary can be narrow and the accent they've adopted may not be "transferable" in another part of the country, let alone another country.

- there are those who study a language, are taught by tutors who explain and break down the grammar, they are taught and understand structure (often the roots (greek perhaps) of a language enable the student to have a broader grasp of other foreign languages). These students may never visit the country, and may never absorb the emotion of the language, but they too can speak and be understood and listen and understand.

For me, the best is both. Study to broaden your vocabulary and understanding, but go listen to the locals talk.
Study, listen and PLAY.

Sorry about that, probably all clap trap,..........please ignore.

John[/quote]

John, that is probably one of the best posts I've seen since being on BC. Nice one.

[Marvin]

[quote name='Pete Academy' post='943845' date='Sep 2 2010, 07:47 PM']John, that is probably one of the best posts I've seen since being on BC. Nice one. [/quote]

I second that. A most brilliant brain fart John, keep it up......I think.


EDIT: first time I read that I thought it said Brian Fart and was going to be a reference to Tony Goggle.

Edited September 2, 2010 by Marvin

[endorka]

What a great thread, too many good contributions to list :-)

Being initially self taught for many years, and only later becoming formally educated in music, I can appreciate most of the points of view put forward here.

Like much in life, the danger is in thinking that one system has all the answers to everything. Any approach taken in isolation or extremes will have its limitations. Balance is required, and there are many pitfalls for the unwary.

Jennifer

[endorka]

[quote name='Starless' post='943664' date='Sep 2 2010, 05:03 PM']I recently acquired a double bass and decided to check on t'interweb for the correct way to hold a French bow. Waste of time, there are 101 different experts out there who advise 101 different ways to hold it - so I'll do what comes naturally. What's the point of paying money to a teacher who, after trying various hand positions will declare, "Hmm.. just do it the way that feels most comfortable for you, that'll be £17.50 please" - Ker-chinng![/quote]

Interesting approach - in my opinion, playing double bass with the French bow, unlike pizzicato bass guitar, IS akin to rocket science. There are an astonishing number of ways to do it incorrectly, which will limit your ability to play well with it.

I have studied many different approaches to the French bow, and can confirm your observation that there are many people with seemingly different approaches, each claiming that theirs is the definitive one. For example, some hold the bow with the fingers at a right angle to the bow, others with the fingers angled in towards the bow. The truth is that both can be right, and both wrong - depending on the relative lengths of your fingers, one or the other will be more appropriate. Use the wrong one and your ability to play will be seriously limited.

This tiny aspect of the French bow hold is incredibly important, but I've never seen it written down or spoken about anywhere. Some students flail about aimlessly with poor technique for years trying to resolve a problem such as this... a problem I can fix literally overnight for a £25 lesson. If it saves years of frustration, I'd say it's £25 well spent :-)

As others have pointed out, I think one of the big strengths of music tuition is the possiblity of cutting out years of re-inventing the wheel, and getting to the actual music making more quickly.

Jennifer